So, I’m in the middle of a massive change right now and, at the same time, I have also recently done myself the (mixed) favour of getting two full days of colour-work done for a tattoo that covers almost a quarter of my body…
Suffice it to say I’m hecking tired and I’m gonna stay that way for a bit and I did it to myself and that’s what really hurts >_<.
To make up for the lack of posts – but *not* the lack of creativity and general witchery – this post essentially contains a photo dump of (some) recent projects and artistic goings on amidst ::wooooooo:: big change ::woooooooo:: ^_^
Recent shots of my desk – homemade beeswax candles, card readings, and musical practice. You may recognise the first image as the thumbnail for my most recent video post. Terribly cringey and an algorithmic shot in the foot… sorrynotsorry!Before and after mending a rip in my skirt (not pictured is the black cotton backing I incorporated into the stitching) & some homemade earrings (paper layers, glue, varnish; real wishbones, cleaned and varnished; paper mache clay, gold paint, varnish.)Recent shots of glamour altar (including perfumes, paper mache clay horns, and ultraviolet pigments) & a shot of the colours my tattoo artist was mixing and blending directly onto my skin!Adventures in making my own nail polish colours! Ultraviolet green (in various layer combinations)… I called it “Poison Apple” but my partner wants to call it either “Mutant Ninja Ooze” or “Aggressively Green”… thoughts?Random OOTD shots of the general vibe I’ve beeen going for these days! Complete with Evenstar & glow in the dark bugs and sex dice! ^_^
That’s all for now folks. Have fun storming the castle!!!
So we’re officially entering summer-like weather here in Ireland which, of course, means I’m losing my will to think. I have, however, been steadily working away on various creative projects the past few months and my aim is to continue this emphasis on gradual progress. It’s causing an interesting layering of imagery in my projects as well which, ideally, will lend itself to something like stylistic and symbolic cohesion…
The idea for my latest video had it’s origins in a conversation with a friend. We were talking about the impact (over the years) of specific moments where you’re shown what you really aren’t to someone else… human, in this case. I brought up Cake’s “Friend is a Four Letter Word” being pointedly played at me as an example to which she replied “UGH what girl of a certain age HASN’T had that song used at them!?”
To which I would like to add, I’m sure there are a lot of people who used that song either at others or even at *themselves* to absorb or express something toxic that so many of us have internalised.
I myself don’t have the strongest bond to the “she/her” social identity. I have explained this in part in the aforementioned blog post. I don’t spend time calling myself a ‘girl’ or ‘woman’ in my head. That’s something that other people call me… usually the rudest people I know, too. I am less and less willing to have “she/her” plastered everywhere and have been opting instead for “she/they”… and the magical and artistic process behind this video (and other projects) has helped me to draw a crucial line in my life more generally: I can no longer sustain connections with people who see me as a ‘girl’ before they see me as a person.
Good conversations with good friends inspire so much don’t they!?
Thus, rather belatedly, it struck me that this was a bigger picture issue… but in my case this needless dichotomy that as a femme-ish person I may *either* feel human *or* sexual but not both in a patriarchal system has taken on this rage infused haunting quality. Of course, we see this theme all throughout demonic witchcraft tropes and mythic narratives and it’s not accidental at all that the goddess under whose auspice I live is imbued with sexual identity and expression… in a shapeshifting and often horror-based way!
In my opinion sexuality in general is a deeply fluid & poetic thing. It is beyond gender, of course, because gender is non-binary and sexual preferences and identity isn’t really map-able. It’s much like magic. Felt, learned, practiced, explored, poured out, drunk in, sung, quietly spoken… everything everywhere and nothing nowhere all at once. In the mind and/or in the body as you please. Mythicly real and woven from autonomy, agency, and consent.
People don’t get to hear nearly often enough how sensually beautiful they are… because humans really can be like living walking poetry. Embodiments of sacred verse! Yet time and space are wasted in saying you are either ‘friend’ to me or ‘something more’!? What is “more” in this scenario!? I was a mystical sexual being before I met almost everyone I know now (as well as certain people I knew *back then*) and I continue to be when people leave my life story. Yet somehow I could still read a book, climb a mountain, perform in concert halls across cities and countries, have thoughts and opinions all my own about whatever I wish… and appreciate the sensory, sensual, and sexual beauty of my friends regardless of gender.
One thing I have been doing for these projects is constructing “what’s playing in the studio” mixes. I made three that function as a whole unit (not unlike Tom Waits’ “Orphans: Brawlers, Bawlers, & Bastards” trinity) but that can also be listened to individually. Each one has a loose narrative structure on its own but as a group of three albums they also progress from the more collective/general (and femme)* to the more vulnerable/authentic/personal.
*[Edit February 2026 – dissatisfaction with the lack of direction and gendered nature of the first playlist has led me to re-do it to represent the idea of cosmically ‘heard’ words & magical power… making all three volumes subjective and biographical, “auto-” or otherwise. The new thematic progression might be said to be Volume 1 – (Changeling) Words/Volume 2 – (Murder) Stories/Volume 3 – (Nonverbal) Tongues…]
I made the second ‘disc’ first and it’s the one that fed most directly into the video above.
Each one features 15 tracks… see what I did there, tarot-nerds? ^_^ They’re mostly what they say on the tin except for three things: 1) it is worth bearing in mind the unreliable narrator as well as the idea of incompatible yet simultaneous truths; 2) these are not necessarily a faithful representation of *my* taste (although of course, they are born from the limitations of my exposure***); and 3) the third album is my answer to the question “what would I play if I let myself really say what I wanted to say musically?” Note, there are almost no lyrics or words on it at all.
Unfortunately, I can only make these available through youtube at the moment because the third album has two tracks I had to alter slightly to allow for a more natural fade into the next track. If anyone knows a good, free, freely available, and less-ad-ridden way to host these let me know!
Lastly, I’ll give you a visual glimpse of one of my other recent projects completed as part of this on-going process:
“Now where the Devil is that devil of mine?” – Jim Henson’s The Storyteller, “The Soldier and Death”
I made myself earrings inspired by the Devil’s foot in Jim Henson’s the Storyteller! You can barely tell, but I am wearing them in certain shots in the video (and in the header image for this post!) The screencaps above are taken from ‘the’ tube but I *DO* own a copy of the DVD series with John Hurt (I don’t have the Greek myths with Michael Gambon and have actually never watched them either.) These are paper mache clay, acrylic paint, and varnished to make them water proof etc.
Ok that’s all for now. Bear in mind, this is all a work in progress and likely poorly expressed! Back to feeling demotivated in the gathering heat.
~ Saoirse.
*** For example, Laura Marling features on the second album twice but I have REAL issues with her worldview as an artist. She’s made some good music in the past, that is all.
Every now and then – almost unsuspectingly – a poem will emerge swift and nearly full-fledged. When this happens it always reminds me of No Face from “Spirited Away”. I feel that as I emerge from a place of intensity, often a place that’s not so good for me, the poem spews forth like tarry gall – I get the thing out feeling cleansed and returned to self.
Or perhaps the poem emerges like some kind of ectoplasmic gauze with my words already jotted on it. My poetry is always filtered through and/or dedicated to the Morrígan as the medieval literature abounds with (Her) prophecy and sorcery in verse. (A rabbit hole I’ll explore on this blog as time goes on.)
In any case, yesterday I was playing the dulcimer and mulling over a few things and upon striking the last lines of a tune, the poem started coming out. In my distraction, I hit the strings of the last chord in such a manner that a resonant overtone or harmonic sounded loud and clear – like a bell.
Luckily I was already at my desk. Dulcimer placed carefully to one side, pen and paper already in hand.
Here is what I coughed up:
* The quotation at the beginning is taken from the opening line of Ursula K. LeGuin’s The Left Hand of Darkness.
** It should also be noted that there is a version of “Hares on the Mountain” that makes an appearance in this poem. It’s Roud Folk Song Index No. 329 (here’s a link). I don’t know if anyone else finds that certain songs (be they old or new) have a way of following you around in life but this is one such song for me. Specifically, for this poem, you can find renditions of it by Josienne Clarke & Ben Walker or by Shirley Collins.
*** There is only one half-truth in this poem. 🎃
I’d love to hear any thoughts people have on how their gnosis occurs… and does it take time to understand certain parts of it? Is it instantaneous or cumulative? Or both?
I wanted to discuss some basic inspiration & information that went into this project as well as some aspects of what the reality of sewing historically inspired clothing looks like… and of course some of how this applies to (my) witchcraft.
First – on my channel I have addressed a few of the reasons I prefer corsetry but, at some point, I will write a blog post with a proper explanation of the practicalities of corsetry in my life. That day is not today.
Q: What are my design references and aesthetic aims? What am I hoping to achieve visually?
This tends to shift around a bit but stays loosely within the parameters of 1) my time periods of interest and what potential I think they have for overlaps in design and 2) silhouette and colour blocking. Additionally, I like to evoke a mood and set of associations: a medieval decadence (in terms of color and texture); the proportional strangeness & darker shades of Northern Renaissance painters (Petrus Christus, Roger van der Weyden, Jan van Eyck etc); and a tongue-in-cheek reference to Victorian societal dysfunction (I like inverting value judgments based in puritanical virtue, assumptions around sexual permissiveness and mental health differences, reliance on religious institutional hierarchy etc.)
… A witch, at any given time period, would have existed largely in the same clothing expected of most people around her (and may well have identified with them religiously too). I like to explore that dissonance… An almost severe black silhouette with cheeky splashes of colour, perhaps? Dress me like a puritan but invert my cross!!!
Q: What about construction details? Isn’t it squeezy!? Did you make any mistakes!??!??
In terms of construction, I wanted practical movement and a well placed waist-line. I wanted better bust accommodation and garter straps for my socks! (On shorter sock days, I use garters just below the knee, fastened to the outside.) The basis from which I built this custom corset pattern was an early 1910s corset style called a ‘long-line’ corset*. This is not to be confused with the early Edwardian ‘s-bend’ corset. I am already exceptionally curvy and I wanted something that was elongated and smoothing to accommodate my more medieval days. (Corset didn’t exist in the middle ages). Think, John William Waterhouse paintings as a visual starting point… or something by Eleanor Fortescue Brickdale.
The added benefit to this type of corset is that it is structurally already quite difficult to lace down too far. It’s a very flexible fit. The waist line cinches where the tummy and spine is the squishiest and most flexible – which serves as an anchor point – and the rest of the corset provides gentle support radiating out from there, up and down.
Without romanticising the ‘rustic’ or glorifying deplorable 19th century working class conditions, a lot of what I am going for is based in working class clothing and practicality. Minimal waste, strategic reuse of mostly second hand fabrics, patching and mending as needed… and planning for movement and more active daily patterns. I make my own soap, I like to cook, I cut out fabrics laid on the floor, I paint, walk, run errands, and frequent pubs in what I sew and the corset is part of what *enables* that (especially as someone with bad spine, joint, and inner organ problems! It works much like a flexible, custom fit back brace with almost no singular pressure points such as a bra band or staps!)
Here is a lovely tertiary resource – a youtube video by Cat’s Costumery – on working women’s corsetry:
In terms of the reality of sewing and making mistakes, I discuss various changes and design elements in my corset video but here is some added detail:
You will see in the photos that I made the corset too big and had to fold down the last panel on either side! At some point I’ll unstitch those panels and adjust them more thoroughly…You will also see, in the photo below, that it seems I made the bust too high originally. My body has also changed slightly in recent weeks so I have re-cut the top and sloppily rebound the edge. It looks messy but it’s strong thread and fits like a glove!
I think this is SUCH a fascinating process… homecraft & creative techniques to fashion a look and way of moving embued with dark mystique!!! I’ll be happy to answer any questions in the comments or even just say hi! And there will be more posts about sewing coming soon. I’ve been up to some pretty crafty shenanigans of late!
* Some basic starting points for this kind of corsetry:
This woman’s making process is documented on her blog – I found her info and visuals helpful as *an* example of the over-bust option for these later corsets. (Please note, I no longer support the Truly Victorian pattern company.) https://historicalsewing.com/1913-blue-floral-corset
I have put together a playlist creators’ resources to do with costuming/sewing techniques on my youtube channel. It’s called “Clothing is Magic” and covers techniques, diversity, inclusivity, and various different time periods I find interesting as well as some old footage of clothes in motion!
Further resources & citations on working clothes and photographic anthropological/social/immigration documentation:
Photos of Icelanders come from a brilliant free resource – the Online Collections of the Danish National Museum (including satelite tools to hone in on where photographs were taken etc.!): https://samlinger.natmus.dk/
The photo of two girls from Norangsdalen came from another amazing online resource, the image collections of the Norwegian Folk Museum: https://digitaltmuseum.no/folkemuseet
I also recommend having a look at the work of Francis Meadow Sutcliffe – especially of women knitting by the docks!
NOTE: While there is a prevalence Nordic or Northern European imagery in this blog post, this is mainly due to a different (personal) research project on which I am working (very slowly). What I mean to illustrate is that there are practicalities of silhouette and construction that interest me in folk costume and working clothes. This post has also been limited by what is available in the public domain etc.
